art without recipe - a culinary symposium
Instability - description of the state of a dynamic system, in which already little fluctuations lead to the transition of the system either into another, more stable state or distance it more and more from the original state.
For the second time a symposium takes place during the festival garage which gives the opportunity to reflect theoretically on the topic of the festival. For one day, lectures, project presentations, performances and experiences of the previous festival weeks are on the schedule.
Artistic work with digital media alwys means to get involved in the process orientation of technology and in its intrinsic instability. The increasing importance of software for artistic production makes this even more obvious: while being able to programme certain processes, a crucial part of artistic creativity evades the programme-code and expresses itself in gestures, in openings, in unpredictabilities.

On this day we speak about art as speculation, as practice through and beyond the programmes and recipes. And in order to give the theory a manifest expression, we want to structure the symposium by a number of meals, which are to be understood as strengthening or as counterpoint to the lectures, presentations or artistic interventions.
A special quality of digital systems is their loss free reproducibility. In this culinary symposium however the consume, the use, the consumption as important dimension of artistic work is opposed to the principle of reproducibility. Concepts like “file sharing” and “cooking pot markets”, manifestations of electronic instability and the perpetuum mobile of generative code will be materialized by sweet and salty snacks, by soups, puddings and other delicacies and liquefied by all sorts of drinks.

Each of the five hosts presents a meal (breakfast, lunch, tea, vespers, supper) and with it, before or after, a discursive or performative side dish, that deals with the boundaries of the programmability of artistic work.
The discursive-culinary demand of the symposium is truly serious, the social quality of a meal together, from joint preparation via consumption till concentrated relaxing phases between the meals, is to function as a catalyst for an intense communication. The consciously unusual form can give the opportunity to think beyond classical distribution and communication forms. All invited referents deal actively with the various forms of social feedback to artistic production and work in the fields of media, teaching and research, (cultural) politics, publicity and art production.

The panel is curated and moderated by Andreas Broeckmann, artistic director of the international med art festival transmediale in Berlin.

Dr. Andreas Broeckmann - code and consum, recipe and consumption
(media scientist/Berlin/D)
(*1964) lives and works in Berlin. He studied art history, sociology and media studies and worked as a project manager at V2_Organisation Rotterdam, Institute for the Unstable Media, from 1995-2000. Since the autumn of 2000 he has been the Artistic Director of transmediale - international media art festival berlin. He is a member of the Berlin-based media association mikro, and of the European Cultural Backbone, a network of media centres.
texts/projects (selection):
> http://www.v2.nl/abroeck
> und über: http://www.nettime.org
> http://www.transmediale.de


Antye Greie - process, copy and repetition (musician/Berlin/D)
As a musician, artist and author connected with the Berlin label Kitty-Yo, Antye Greie works in the undefined space between electronics, Internet, communication and the human voice. To date, internationally successful project, Laub, has released three albums and experimented with language and open sources (Internet) on an electronic-experimental basis and has participated in video projects (Pfadfinderei Mitte, Kunstfernsehen). With numerous Internet-based partners (betalounge.com, freshmilk.de et al.), she works with new media and technologies like audio streaming (Internet radio), audio download/e-commerce, and Internet TV and deals with cultural-political issues and developments arising from these such as copyright law and questions of values in digital space.


Erik Hobijn / Arlette Muschter - the tactile machine (artists/NL)
The installation is based mostly on the work of the Italian Futurist Marinetti because of his futuristic view on machines and especially his recipes for »The Tactile Dinner« as part of the »Futorists Cooking Book«, 1932. As well works of Bas Jan Ader with »The Broken Fall« Westkapelle, 1970, Franz F. Feigls recipe »A commitment of friends«, 1996, Yuri Yakoulows costumes for the ballet called »Le pas d'acier«, London, 1927 and Patrick.C.P. Faas' historical cooking book »Round the Roman table«, 1994.
The Tactile machine is a food installation, a performance or, as Marinetti called it, a »formula« for a possible meal. The base of our »formula« is a course on and with the human body, for the guests it is also the experience of shared body. The human body is placed in the centre of the meal. The solid mechanicality and the sheltering layering of clothing are subservient to this body.
The main installation parts are a solid steel frame built around a pneumatic tilting bed, or better call it a table. It's quite big and ±3 m. high. The articles of clothing, a food cannon, bionic beer arm. This dinner is now suitable for 2 guests, a couple, or lovers. One person is laying down on a tilting table and the other one is eating from this person body. At the beginning of the meal, one person steps on the bed/table and will be tilted slowly backwards. Because the tilting point is not in the middle but lower, it is giving the sensation of falling, it is a broken fall, because, halfway it becomes a table. A pneumatic cylinder causes a slow motion movement. This sensation of motion controlled falling helps reaching a mental transit state for the final handover in tenderness, to be open for the new coming experiences. The broken fall is important, as a reference to a form of detachment and a performance work of Dutch artist Bas Jan Ader who hereby physically accepted all the consequences of his choice to fall into the unknown.
We create 4 courses on a human body, on 4 different spots of this body.
1. The chest, where we make a salad, salad leaves, falling down like green snowflakes out of a spinning silver tinder, get their dressing by passing through two clouds, one of olive oil and one of vinegar. 2. The stomach, where we shoot the food on. This course is build up by different layers and of heavily impact. Everything that's lovely, like food, is also connected to violence. If a human being offers himself as food, he shall have to expose himself to this violence. 3. Under the armpit, where a little steamed bread is salted with sweat after a special workout. Using the natural juice of our species. 4. On the mouth, as the dessert. A pear and its juices combine themselves with sweet dessert wine, being eaten by nothing else other than the mouths as utensils. Uniting the two bodies as final conclusion. For drinks, we serve beer opened by the Bionic Beer Hand, a violent and primitive way of opening a can.


Thilges3 (Vienna/A) Associations - mobile sound installation/performance
Social acoustics. What is normally understood as »examples«, becomes for Thilges3 a differentiated analysis of the place, its audience and their imagination. Entertainment loses its innocence as soon as it is confronted with the game of expectations, with positions and inconsistencies of this artistic form of expression.
In August 2003 Thilges 3 will develop in Stralsund a temporary mobile installation.
Their as »social acoustics« defined way of work follows traces of public life. As in their project »The open society« they consciously worked with the individual expectations of 4 different social positions (old people’s home, kindergarten, cloister, prison). The sound installation is the medium for dealing with Stralsund and its inhabitants. Live acting, but also as an autarkical, automated audio sculpture, Thilges3 will interfere with local habits. Reactions will be documented and elsewhere processed. To take account of the concept of this year’s festival, the actions and interventions will happen spontaneously. This is possible through a portable sound studio of high quality. On the last day of the festival the collected results will be put together and presented live.
associations: Muezzin sings from the tower of a protestant church; in a bus the station announcement will be manipulated; fictive commercials, irritation; traffic noise on a crossing in the shopping passage.
installations: hair dresser – background music for gossip from all over the world.
at the butcher’s – Muzzak with natural environment, jungle, zoo, alms…
> http://www.thilges.at


Dr. Simon Waters - sound and delight (Norwich/UK)
Simon conducts research into the relationship between music and other activities, focusing primarily on contemporary and recent musical thought and production. Examples include film, electronic technologies, material culture, and Postmodernism. He has experience working with theatre, installation and contemporary dance. As Director of the Electroacoustic Music Studios he organises concerts and other public activities within the University, in the UK, and. He has an international reputation as an electro acoustic composer, with awards and commissions in the UK and abroad, and speaks regularly at conferences (not always on music). He is currently Director of two of the AHRB-funded Research Projects hosted by the School of Music “ARiADA” (Advanced Research in Aesthetics in the Digital Arts) and SARA (Sonic Arts Research Archive).)
> http://www.ariada.uea.ac.uk/
> http://www.sara.uea.ac.uk/